
OCT 7 mi 

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Barold Roorbacb, Publisher 

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i ACTING PLAYS 

DRILLS AND MARCHES 
ENTERTAINMENTS 

. A new copyright series suitable for amateur representation, especially 

^ adapted to the uses of schools. The Plays are fresh and bright; the Drills 

^ AND Marches meet the requirements of both sexes, of various ages ; the 

^ entertainments are the best of their sort. The Prices are Fifteen 

( e>its each, unless another price is stated. Figures in the right hand 

^ columns denote the number of characters. M, male ; F, female. 

^ One=Act Farces and Comediettas 

# (15 CENTS EACH.) M.F. 

W An Irish Engagement (lively and laughable) 4 2 

A Popping the Question (always brings down the house) 2 4 

^ Which is Which? (graceful, comical and bright) 3 3 

^ Lend Me Five Shillings (provokes continuous mirth) 5 2 

A How to Tame Your Mbther-in-Law (extravagantly comical) 4 2 

\ Mulcahy'S Cat (Irish low life— Harrigan style) 2 1 

^ All in der Family (comic Dutch character sketch) 4 2 

^ Funnibone's Fix (the woes of an Editor) 6 2 

^ A Cup of Tea (spirited and popular ; acts well) 3 i 

To Let— Furnished (has a good " dude" character) 3 i 

^ The Obstinate Family (one of the funniest of farces) 3 3 

^ More Blunders Than One (comic Irish character) 4 3 

The Stage-Struck Yankee (funny straight through) 4 2 

- The Vermont Wool Dealer (suits everybody) 5 3 

The Women's Club (" The Broken-Hearted Club ") 4 8 

Twenty and Forty (has a frisky old-maid part) 4 6 

Betsey Baker (creates explosive laughter) 2 2 

Freezing a Mother-in-Law (a screaming facce' 3 2 

At Sixes and Sevens (a gay piece — sure to make a hit) 3 4 

Change Partners (comic and vivacious) 2 3 

A Dark Noight's Business (full of real Irish tun) 3 T 

A Purty Shu re Cure (comic, with a temperance moral). 2 i 

^ My Neighbor's Wife (sprightly and ludicrous) 3 3 

W Who Got the Pig? (An Irish jury case) 3 i 

A Turn Him Out (wildly farcical) 3 2 

^ Pipes and Perdition (a funny Mother-in-Law piece) 2 2 

W Dot Mat Tog (Dutch and Irish courtship) 2 2 

A His First Brief (elicits shouts of laughter) ; 3 2 

^ Dot Quied Lotchings (Dutch boarding-house sketch) 5 ^ 3fc 

My Precious Betsey (indescribably funny) 44^ 

The Ould Man's Coat-Tails (Irish farce) 3 

A Happy Pair (their quarrels and making-up are very entertaining) 



^ 



Picking up the Pieces (brilliant dialogue ; old bachelor and widow). 
- • "" Wif " 



} 



Cut Off With a Shilling (snappy, funny and brisk) 

'v Uncle's Will (one of the best of the short plays)... 2 i 

^ A Case for Eviction (bright, with a comic climax) i 2 

A A Pretty Piece of Business (always " takes") 2 3 

^ Who is Who? (makes 40 minutes of laughter) 3 2 

Second Sight (or "Your Fortune for a boll^.r") 4 i 

^ That Rascal Pat (the leading character is a blundering Irishman) 3 2 

^ Good for Nothing (" Nan" is always well receis^ed) 5 i 

^ An Unexpected Fare (humorous scene at an "afternoon tea") i 5 

^ Ice on Parle prancais (one prolonged hurrah of fun) 3 4 

'T The Rough Diamon 1 (dialogue and situations excellent) 4 3 

^ Jumbo Jum (full of genuine humor and fun) 4 3 

^ A Quiet Family (fetches shouts of laughter) 4 4 

^ My Lord in Livery (provokes uproarious mirth) 5 3 

^ A Regular Fix (an old favorite that always goes well) 6 4 

J HAROLD ROORBACK, Publisher, 132 Nassau St., N. Y. J 



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A./ 



Over the Garden Wall 



a fll>u6ical Burle0 




BY 

WILL D. FELTER 

AUTHOR Olf •* THK SWEET FAMII^Y," " THE WIDOW'S PROPOSAI^," 
"A BUNCH OF ROSES," ETC. 



Copyright, 1897, by Harold Roorback 





NEW YORK 
HAROLD ROORBACH, PUBLISHER 
132 Nassau Street 
6 



TMP92-008881 



OVER THE GARDEN WALL." 



CAST OF CHARACTERS. 

Reginald De Tones.— Manager and billposter. 

Evangeline De Jones. — His wife ; the most beautiful woman in 

America. 
Uncle Reuben Wayback. — 'Nuff said. 

M'lle Arabella Victoria Maud. — An imported living picture model. 
Mme. Paulina Squallina. — The great French song-bird. 
Little Willie Winkle. — An infant prodigy. 

Cyntha Sniggins. — From Pine Valley, who just loves the " dear men." 
Bum Bum, 1 

Pretty Thing, \ Three little maids from school. 
Peek-a-boo, J 

Lily Ann Longtree. — England's "Jersey Lily." 
Chorus. — Three ladies and three gentlernen. 
Two Pages. 



Time of Representation. — One hour. 

SCENE. 

The Garden Wall — About five feet out from the wall of the stage, 
place two upright pieces of wood about twelve feet apart. Nail solid 
top and bottoni Five feet from the floor nail a piece of scantling from 

gost to post, and on that tack the wall, which is made of dark red cam- 
ric, painted in white stripes to represent bricks. Make the wall 
twelve feet long (or longer if the stage be wide) and five feet high. 
Draw the cloth down tight and tack to the floor. Trim the posts a"nd 
back wall with large branches of willow or evergreen. Running vines 
can be tacked to the scantling and hang down over the wall. Back of 
the wall and close to it, place three boxes, each eighteen inches high, 
and lay a heavy plank across them to form the platform for the choi'us 
and performers to stand on. Drape each side of the posts with cur- 
tains to the side walls. The burlesque can be given without a front 
curtain, but it is better where one is used. 

PROPERTIES. 

Chair in front of wall, L., tor Evangeline. Large bow and arrow. 
Lighted lantern. Hand mirror. Powder puff. Fan. Shawl. Small 
curtain or sheet for the pictures. Old boots and shoes for opening 
chorus. 

3 



OVER THE GARDEN WALL'" ^W ^'>> 



COSTUMES, 



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1 



Reginald De Jones, — Black coat ; white collar. Black tie. Long 
hair and high hat. 

Evangeline De Jones. — Large figured calico dress looped up over 
white or colored skirt ; big hoops. Big bonnet trimmed with flowers 
and feathers. Very grotesque. 

Uncle Reuben Wayback. — Dark pants. Linen coat. Dark shirt. 
Paper collar. Gray wig and chin whiskers. Straw hat. Spectacles. 

M'lle Arabella Victoria Maud.— A tall, slender girl. Hair done 
high on head, with two cork-screw curls in front of ears. White waist 
with tight sleeves. 

Paulina Squallina. — Any odd bright waist, lace trimmed, and any 
quantity of jewelry. Feathers in hair. 

Willie Winkle. — Very tall man. Smooth face. Short pants. 
Calico waist. Yellow hair. Little boy's cap. Must appear to have 
outgrown his clothes. 

Cyntha Sniggins. — Any old-fashioned dress. Bonnet and cork- 
screw curls. Fan. Very giddy. 

Bum Bum, Pretty Thing, Peek-a-boo. — Three men or boys dressed 
in calico dresses ; hoops ; sun-bonnets or shakers ; palm-leaf fans. 

Lily Ann Longtree.— Young lady. Light dress, trimmed vvith all 
kinds of colored ribbons. Hair in curls or braids. Over-dressed, and 
in very bad taste. 

Chorus. — Ladies. — Blue and white gingham pinafores with long 
sleeves. Large straw hats tied under chin with bright-colored ribbons. 
GeuUemen. — Blue checked blouses. Big straw hats. 

Pages. — Bright colored w^aists. High fools' caps made of white 
paper. 



Note. — Any number of recitations and songs can be used in the per- 
formance of " Over the Garden Wall," and the order of the programme 
can be changed to suit the occasion. Several parts can be played by 
the same person, and some can " double " with the chorus if necessary. 



OVER THE GARDEN WALL." 



SCENE. — The garden wall. Branches of willow or ever- 
green at sides and back of wall. At rise of curtain the 
prelude to the so7ig " Over the Garden Wall " is played by 
the pianist. REGINALD De JONES appears back of wall 
in centre. 

Reginald. Ladies, gentlemen and all fellow-citizens assem- 
bled before me to-night, — I take great pleasure in introducing to 
your notice the greatest travelling aggregation ol the day. It 
has taken years of labor to form this gigantic company of 
" Stars," and there has never been seen such an array of beauty, 
grace and talent combined as you will find in this company. 
It is very seldom that we ever play in a town of this size, but last 
week when we were playing in Blueberry Corners, {or name of 
some village near by) we located this town on the map and de- 
cided to make it our next stand, provided we could get a suffi- 
cient guarantee from the management of this house. We are 
the only company on the road travelling on what is now the popu- 
lar mode of locomotion — namely, the " byke " ; and could you 
see us when we start out you would discover that we all wear 
bloomers. Now, I am the manager, proprietor and bill-poster 
of this organization, and my wife, Evangeline, is the treasurer. 
I wanted that office myself; but as she furnished the money to 
start us out, she insists on handling all the cash. She also has 
full charge of the programme ; and if you will give us your kind 
attention we will now proceed. (Calls, L.) Evangeline, my love ! 

Evangeline (outside, l.). Yes, Reginald, my dear. 

Reginald. You may appear in front of the wall. 

[Evangeline ENTERS, l. 
This fair creature, ladies and gentlemen, is considered by the 
press and the public to be the most beautiful woman before the 
American footlights to-day. (^To her.) Evangeline, my love, 
salute the ladies and gentlemen, especially the gentlemen. 

[She bows two or three times. 
Now, you may proceed with the programme while I go out and 
look after the proceeds of the box office. 

[EXIT down behind the wall, 

5 



6 ''OVER THE GARDEN WALLr 

Evan. (c). Ladies and gentlemen, — You are no doubt assem- 
bled before me to-night, expecting to hear an ordinary Metropol- 
itan Concert Company ; but you are not, decidedly not. We do 
not for a moment class ourselves with such talent as you will 
usually find in that class of entertainments. Our artists are 
selected with a view to pleasing the public, and we endeavor to 
secure only people of fine figure and handsome face, as you will 
soon see. I will not dwell longer on the merits of the company, 
but will, with your kind attention, proceed with our programme, 
which will be opened with a song by the whole chorus. If 
there are any bald-headed men or dudes in the audience, please 
do not wink at the chorus-girls, for they are very susceptible. 
{Calls.) Are you ready ? 
Chorus. Ready ! 
Evan. Appear. 

[Chorus of six appear back of wall during the pre- 
lude on the piano, and sitig the opening song. 
Keep the hands and arms at the sides, and on the 
hands of each have a7i old pair of boots or shoes. 
One or two can put long white or colored hose on 
arms and low shoes on ha7tds. At the close of the 
third chorus, all step dow7t backward off the plat- 
form behind the wall, and all throw the arms above 
the head, being careful to keep the head down be- 
hittd the wall. The effect is very comical from the 
fro7tt. 

Opening Chorus : " Over the Garden Wall.'' 

I. 

We're the jolliest folks you ever did see. 

Over the garden wall ; 
We all are handsome as handsome can be, 

Over the garden wall. 
Perhaps when you see how happy are we, 

You will be glad that we gave you a call ; 
We'll try hard to please 
While the soft evening breeze 

Blows over the garden wall. 
Chorus. Over the garden wall. 

The jolliest folks of all, 

There never was yet 

So jolly a set. 

And you can bet 

You'll never forget 

The night that we together met, 

Over the garden wall. 



''OVER THE GARDEN WALL:' 7 

II. 

We'll all appear on the other side, 

Over the garden wall ; 
Perhaps some fellow can choose a bride 

Over the garden wall, 
Or, if any young girl should chance to see 
A man whose wife she's willing to be, 
Just wink your eye, we'll meet you at three, 

Over the garden wall. 

Cho. Over the garden wall, etc. 

III. 

Now, other people will soon appear 

Over the garden wall ; 
We want you all to give them a cheer 

Over the garden wall. 
We know you'll agree that we sure will be 

The liveliest, best folks of all. 
So now we'll proceed our programme to read 
Over the garden wall. 

Cho. Over the garden wall, etc. 

[Chorus disappears behind wall. 
Evan. Uncle Reuben Wayback will now electrify the 
audience with one of his popular, pathetic tunes. {Calls.) 
Uncle Reuben ! 
Uncle R. Ready ! 

Evan. Appear. [He appears back of wall, c. 

Uncle R. Hello, everybody ! Wal, gosh all hemlock ! I 
wa'n't expectin' tew see so many nice lookin* gals here when I 
come up. How air you all, anyway ? I never see so many 
purty gals in all my life afore. I tell yew, yew all make me 
feel young ag'in. I remember when I was a young feller, there 
wa'n t a gal within fourteen mile o' Blueberry Corners, whar I 
was raised, that I didn't know ; and talkin' about your sparkin' ! 
Why, {local name of some popular fellow, or " none of the 
young fellers here") ain't in it with me. I know I'm gittin' 
old, but when I see a purty gal I begin to feel just as young as 
I used ter be. {Sings.) 

Song : "As Young as I Used lo Be." 

I. 

Kind friends, come listen to my song, 
I'm old and I won't detain you long ; 
I'm eighty-four, and quite a dude, 
And young folks call me Uncle Rube. 



8 ''OVER THE GARDEN WALL." 

My hair, once black, has all turned gray, 

But what's the odds while I feel gay ? 

How I could sing a song of glee 

If I was as young as I used to be. 
Chorus. Fy de I, de hap te do. 

How I love to sing for you ! 
How I could sing a song of glee 
If I was as young as I used to be ! 

II. 

When I was young I knew life's joys, 
But now I'm old, yet I'm one of the boys ; 
I could tell a story, or sing a song, 
With any young fellow that came along. 
I could throw a ball or crack a joke. 
And never forgot my pipe to smoke. 
I'm a gay old " sport " you'll all agree ; 
I feel just as young as I used to be. 
Cho. Fy de I, de hap te do, etc. 

III. 

When I was young and in my prime, 
I courted the girls 'most all of my time; 
I'd take them out each day for a ride. 
And always kept them by my side. 
I'd hug and kiss them just for fun. 
And I haven't forgot how it is done, 
So if any girl here is in love with me 
She'll find me as young as I used to be. 
Cho. Fy de I, de hap te do, etc. 

[After song, he disappears behitid the wall. 

Evan. M'lle. Arabella Victoria Maud, one ot the hand- 
somest and greatest models of the present century, has been 
secured at great expense — we have to pay her two dollars a 
week, and washing thrown in — to pose in a series of living 
pictures. In the last town we did a poor business, and the 
landlord of the hotel where we stopped was mean enough to 
keep our 99-cent frame and all Arabella's clothes, — or, that 
is, all she wore on that " suspicious " occasion. So here she 
will be forced to pose in her latest "Del Sarte " gown, and 
without the frame. {Calls.) Arabella Victoria Maud ! 

Arabella. Ready. [Soft music on piatio. 

Evan. Appear. [Arabella appears c, back of wall. 

This superb creature, ladies and gentlenrien, is considered the 



''OVER THE GARDEN WALL:' ^ 

most beautiful woman in America — present company always 
excepted {meaning herself). We picked her up in Hoboken. 
Salute the ladies and gentlemen, my dear, (aside) especially the 
gentlemen. [Arabella bows right and left. 

{Aloud.) The pages in attendance will now appear. 

[Pages appear on either side of Arabella, with a 
curtain about the size of a sheet. Each takes hold 
of the upper corners and raises it up in front of 
Arabella until she is ready for the picture ; and 
then they lower it behind the wall. After the pic- 
ture, they raise it until she changes. Repeat same 
as before. 
Now, the first living picture we will present is one you are all 
familiar with. It is «« Liberty Frightening the World." 

[^Picture. Red, white and blue thrown around 

shoulders. She stands facing the audience, and in 

right hand holds, high above head, an old lighted 

lantern. 

The next picture will be a copy of an original painting entitled 

" The Coquette." Mark how very coquettish she is. 

[Picture. Fan open and held at point of chin j 
head on one side ; smiles. Front view. 
We will now be favored with a picture copied from a magnifi- 
cent painting by Michael Angelo, entitled " Little Cupid." We 
are sorry, but we left Arabella's wings behind us, and you must 
imagine you see wings. 

[Picture. Stand, side view, in white gown. Very 
large bow and arrow, pointed right. 
The next will be " An Artist at Work." This is rather an orig- 
inal picture with Arabella Victoria Maud, for it is copied from 
a snap shot of herself that a kodak fiend caught of her one day 
last summer. 

[Picture. Faces left. Hand mirror in left hand 
and powder puff in right. 
We will now be favored with a copy of " Venus, in Winter." 

[Picture. Front view. Over head and shoulders, 
and gathered tight around just to show the face, is 
a large shawl. Comical expression on face. 
Note : Other pictures may be added to suit the 
performance. After the pictures all except EVAN- 
GELINE disappear behind wall. 
Evan. Madame Paulina Squallina, the nation's favorite so- 
prano, who has lately made the great " hit " of her life in a song 
specially written for her, will now sing for you. Some think 
she will in time be able to reach higher than Patti or even 
Yaw. {Calls.) Madame Paulina Squallina, are you ready ? 
Madame S. Ready ! 



lb '^OVER THE GARDEN WALLr 

Evan. Appear. 

[Madame S. appears c, behind wall, and sings two 
verses 0/ " Ben Bolt." Note: This can be tnade 
very funtiy by announcitig her in the role of 
" Trilby " and having Evangeline act as " Sven- 
galli," and at the last line or two letting the 
voice break. Any other old song can be used. At 
conclusion Madame S. disappears behifid wall. 

Evan. Now, Cyntha Sniggins, who was born in Wiggletown, 
this state, a number of years ago (I don't know just when it was, 
for ancient history doesn't relate), will now appear for the first 
time in your town and give you a graphic description of her ex- 
perience in a tunnel where there was a horrid man in the case. 
Cyntha was a chorus girl with the Wiggletown Opera Company 
last season, and if the young man in the seventh row will try, I 
am quite sure he can make an impression upon her. {Calls.) 
Cyntha, are you ready ? 

Cyntha. Ready ! 

Evan. Appear. 

Cyntha {appears back of wall, centre). Well ! I think 
things have come to a pretty pass when a pretty and timid young 
girl can't go out without having all the men and boys on the 
street make remarks about her. Why, just as I came around 
the corner, a naughty man said, " Oh, look at that face," — just 
as if my face wasn't as handsome as any girl's in {mention the 
town you are in). About a block farther up the street a boy 
yelled out, " Man wanted ! man wanted I " Now, I wonder how 
they knew I wanted a man ? And yet I do, and I've been look- 
ing for one for the last ten years, ever since I was sixteen years 
old, and I haven't found one yet. I am sure I can't understand 
why it is. I am so susceptible to the attentions of a young man, 
and yet they never seem to propose to me. But I think that I 
have found my fate at last. It was one time when I was going 
to Chicago on a crowded excursion train. Now, just imagine, — 
an unsophisticated girl like me going to Chicago all by myself! 
I'll own 'twas an awtul daring thing to do ; but I did it, just the 
same. The cars were lull when I got in, and I walked down 
the aisle until I found a seat with only a man in it, and I asked 
him very timidly if I could please sit there, and he very politely 
got up, and I sat down,' and he went into the smoking car, and 
I didn't see him after that. I sat there all by.myself, and was 
just hoping sonie nice young man would com^e along, when "the 
door opened and in came one of the handsomest fellows you ever 
saw. Oh, he was just too sweet ior anything ! He came down 
the aisle and looked first at the seat and then at me, and finally 
said, *' Engaged ? " Well, for a minute I didn't know whether 
he meant me or the seat ; so I just blushed and said, " No, sir." 



''OVER THE GARDEN WALLr n 

Then he sat clown beside me, and he did seem so nice I thought 
I'd Hke to get acquainted with him ; and I wondered how I 
could, for he seemed so. awful bashful. Finally a very bright 
idea came to me. I had heard it said that all an attractive 
young girl had to do when she wanted to make the acquaint- 
ance of a young man on a train was just to try to raise the 
window and then make believe she couldn't do it, and he would 
do it for her. Do you know, I tried it ! It worked like a charm. 
That young man rose right up and put one arm back of me, 
and one in front, and raised it for me, and it was the first time 
a young man ever had his arms around me, and the queerest 
sensation came over me. Oh, it was just too lovely for any- 
thing ! Of course I blushed and thanked him, and we rode 
along until the wind blew pretty strong from that, side of the 
train ; and I asked him it he would please put it down, and he 
repeated the same business with his arms, and the same sensa- 
tion came back. By that time we'd become quite well ac- 
quainted, and he was just as sociable — until all of a sudden we 
rushed into a tunnel. You know it is just as black as night in 
a tunnel, and there that young man sat close beside me. Of 
course I couldn't see him, and I don't suppose I could have 
helped myself anyway, even if I'd wanted to. We'd only been 
in the tunnel for a minute when that young man — he — he — oh, 
I don't want to tell ! 

Evan. Oh, do ! 

Cyntha {giggles). Oh, no, I don't want to ! 

Evan. Oh, please do ! 

Cyntha. Promise you won't tell ? 

Evan. I promise. 

Gyntha {ad lib.). Well, then he Oh, I dasn't tell. 

Evan. Oh, do tell ! 

Cyntha. Well, then, he {Motions to Evangeline ; she 

leans up j Cyntha whispers behind her fan.) 

Evan. You don't say so ! 

Cyntha, Yes, he did, four times right there. {Puts tip of 
finger on her lips. Sings.) 

Song: "An Old Maid." * 

I. 

Naughty men, just look before you, 
Here's a maiden to adore you ; 
Listen to me, I implore you. 
While I tell my tale of woe. 

* Words by permission of the author, W. B. Leonard. Piano copy of the music 
can be obtained from the publisher of this book, or from The W. B. Leonard Co., 
Cortland, N. Y. Price, 40 cents. 



12 ''OVER THE GARDEN WALL:' 

I have just turned " twenty-seven," 

And my heart is full of love ; 
I could make your home a Heaven, 
Come and claim your little dove. 
Chorus. An old maid, an old maid. 

That's what the people say ; 
Although I'm very fond of men, 

They never come my way ; 
They say that I'm not in it 

And look better when alone, 
So, sad and single I must stay 
Till angels take me home. 

II. 
Very well do I remember ; — 
It was one night in September, 
I was sleeping in my chamber ; 
With a start I quickly woke. 
Cautiously I looked around me. 

Up I got my foe to rout ; 
There a man stood just before me, 
But I didn't turn him out. 
Cho. An old maid, etc. 
III. 
Now a word before I leave you ; 
I will try and not deceive you ; 
And I hope I do not grieve you 

When I offer you my hand. 
Won't you come and take your '< tootsie " ? 

Hush, my little heart, be still ! 
I will be your little " wootsie," 
I'll be yours for good or ill. 
Cho. An old maid, etc. 

[She disappears behind the wall. 
Evan. You may now listen to one grand outburst of melody 
by the whole chorus. This piece was rehearsed under the 
direction of Signor Cantsingio, the great Italian musical director 
and composer, [Calls.) Are you all ready .'' 
Chorus. Ready ! 
Evan. Appear. 

Chorus {appear behind wall and sing the oldfa^niliar round, 
"Scotland's Burning," making the motions as stated below. 
The tu7ie is familiar to everybody. Di^iide the CHORUS into 
three parts. The second part begins after "Scotland's Burn- 
ing " has been siijig twice by the first part. Third, the same. 
Sing three tijncs). 



'^OVER THE GARDEN WALLr 13 

Song. 

Scotfand's burning ! 
Scotland's burning ! 

Look out ! {Look R. Shade eyes with R. hand.) 
Look out ! {Look L. Shade eyes with L. hand.) 
Fire ! {Turn R., right thumb and finger over mouth.) 
Fire ! {Turn L., left thumb and finger over mouth.) 
Fire ! {Turn R., right thujnb attd finger over mouth.) 
Fire ! {Turn L., left thiimb and finger over mouth.) 
Cast on water ! 

Cast on water ! {Both hands extended front, palms down, 
and move them froin L. to R. Disappear behind wall.) 

[For an encore, which is always demanded, the 
Chorus appear and sing the followiiig, to the tune 
of'' The Old Oaken Bucket." Sing very slowly. 

Song. 

Chorus. Old Mother Hubbard, she went to the cupboard, 
To get her poor doggie a B-O-N-E. 
But when she got there the cupboard was bare, 
And so the poor doggie had N-O-N-E. 

[Disappear behind wall. 

Evan. Little Willie Winkle, the infant prodigy, travels with 

us now. He is Madame Squallina's eldest of six children, and 

he will now appear in dramatic recitations. {Calls.) Little 

Willie Winkle ? 

Willie. Ready ! 

Evan. You may appear and recite "The Circus." 
Willie {appears in front of wall. Recites in a very drawly 
way. Hands in pockets, and is very awkward and silly). 

>' The Circus." 

Ma said if I'd be awful good. 

She'd take me to the show ; 
Our hired girl, named Sally Rood, 

She said that I could be her beau 
She thinks I am awful silly. 

And says I'm always in the way ; 
And pa says I'm gettin' fooler 

And fooler every day. 
Ma says I'm just from Heaven lent. 
And some day I'll be president. 

Last week we had a circus here, 

It was the talk of all the town ; 

But not one with a bear or deer, 

* Or ev'n a monkey, or a clown. 



14 ''OVER THE GARDEN WALL.'' 

'Twas free, and so we all turned out, 

You'd thought it was a county fair ; 
The Deacon laughed so hard, 1 thought 

That he and dad just made a pair. 
The women said, " Well, I do vow, 
il wonder what has happened now !" 

When first we see'd the people run 

Dad said, he's sure it was a fight, 
So we both went to see the fun 

And, gosh all hemlock, what a sight ! 
The crowd had gathered round the store 

Just like they do on circus day ; 
And down the road came forty more ; 

While just behind was Deacon Jay. 
He pushed along right through the crowd. 
And then he burst out laughing loud. 

Then dad, he got to laughing so 

That we all thought he acted rash ; 
And Charley Green, who's quite a beau, 

Just tried his best to make a mash. 
He said, " I tell you, she's a ' bute,' " 

And others said, "She is a peach," 
When dad yelled out, "She is so cute. 

Just keep her out the Deacon's reach." 
Then some one said from out the crowd, 
" I shouldn't think 'twould be allowed." 

I was too short to see the show. 

And wondered what the men did see. 
So I says, " Dad, I'd like to know 

Whatever can a circus be 1 " 
He raised me up ; my, what a sight 

I then did see a-standin' there ! 
She looked quite " fly," her eyes were bright, 

And down her back was yaller hair. 
You want to know what caused the fun ? 
'Twas just a gal with bloomers on. 

[Makes an awkward bow and EXIT. 
Evan. You will now be highly entertained with a scene 
from the new and popular opera entitled " The Mik-a-deau." 
The " Three little Maids from School " are by far the most at- 
tractive of all our ladies, and they have been known to make as 
many as seven "impressions " on the gentlemen in the audience 
in one evening. Bum Bum, Pretty Thing and Peek-a-boo will now 
appear. {Calls.) Little girls, are you ready .? 



OVEH THE GARDEN WALL:' 



'5 



All. 
Evan. 



Ready! 
Appear. 



[ENTER from R. first Peek-a-boo, then Bum Bum, then 
Pretty Thing. All must ruti on tip-toe and shake the 
body and head in true Japanese style, keeping the fan 
in motion all the time. Note : Any one who has seen 
this scene in the opera, " The .Mikado," cayi appreciate 
this burlesque if it is done well, for it is the hit of the 
evening. 

Song: " Three Little Maids from School."* 

All run on from R. and stand side by side, holding fans 
straight out in front, tip stage, and in centre. 



All. 



Bum Bum. 
Pretty Thing. 
Peek-a-boo. 
All. 



Bum Bum. 
Pretty Thing. 
Peek-a-boo. 

Bum Bum. 
Peek-a-boo. 
Pretty Thing. 



Three little maids from school are we, 
Pert as a school-girl well can be, 
Filled to the brim with girlish glee, 

Three little maids from school. 
Everything is a source of fun, 
No body*s safe, for we care for none. 
Life is a joke that is just begun, 
Three little maids from school. 

[Swing fro fn L. toK., using fans. 
Three little maids who, all unwary, 
Come from a ladies' seminary, 
Freed from its genius tutelary — 
Three little maids from school, 
Three little maids from school. 
One little maid is a bride, Bum Bum. 

[Rtcns down c. 
Two little maids in attendance come. 

[Rims down R. 
Three little maids is the total sum. 

Runs down l. 
Three little maids from school. 
From three little maids take one away. 

[Runs to L., in front of Peek- A-BOO. 
Two little maids remain, and they 

[Rujis R., in front ^/^Pretty Thing. 
Won't have to wait very long they say. 
[Runs l. of Bvm Bum, bringing her in c. 
Three little maids from school. 
Three little maids from school. 

[EXEUNT, R., after song. 



* Piano copy of the music can be obtained from the publisher of this book or from 
The Oliver Ditson Co., Boston, Mass. Price 60 cents. 



1 6 ''OVER THE GARDEN WALL:' 

Evan. One of the greatest attractions we have is the great 
English Jersey Lily, her real name being Lily Ann Longtree. 
This lady, besides being a great English beauty and actress, is 
also a very fine elocutionist and sensational writer. She always 
writes her own recitations, some of which are very bloodcurd- 
ling, while others are of a romantic order. She will now pro- 
ceed to give you her masterpiece, which is full of romance and 
love. It is entitled " The Romance of the Red-Headed Girl 
and The White Horse, or Love at First Sight." (Calls.) Are 
you ready, Lily Ann ? 

Lily Ann. Ready ! 

Evan. Appear. 

[Lily Ann appears back of wall, in centre, and re- 
cites the following. 

" The Romance of a Red-Headed Girl." 

1. 

Once upon a day that was very dark and dreary, 

A stranger wandered down the street, very tired and weary ; 

He betook himself to thinking. 

Fancy unto fancy linking, 
Wondering if a maiden with bright hair of auburn hue 
He should meet there, and, just then, to make the saying true, 

A white horse should appear. 

n. 

Closely did he eye each female, as they passed them to and fro, 
From her pretty, jaunty bonnet, down unto her very toe ; 

Till at last a lovely maiden 

(With big parcels she was laden), 
And the bright, soft auburn tresses, underneath the hat she 

wore. 
Caught his eye ; and he thought as he'd thought so oft before, 

" Will a white horse now appear ? " 

in. 

Wrapped was he in admiration as he gazed at her sweet face, 
Wreathed by auburn tresses, curling, at her throat some dainty 
lace ; 

On her head, a stylish sailor, 

And a coat made by a tailor, 
On she treaded and he followed, keeping her within his view ; 
And he couldn't help but wonder if the saying would prove, true, 

When a white horse did appear. 



''OVER THE GARDEN IVALL." jy 

IV. 

Then he glanced toward the maiden ; she had seen the horse 

appear. 
And he saw the crimson blushes on her cheeks as he drew 
near. 

Then she looked up very slyly, 
And she said so very dryly, 
" Don't you think, sir, I'm embarrassed just because I've auburn 

hair, 
And the blushes on my cheeks, sir, are not there because I 
care 

If a white horse did appear." 

V. 

Her voice won his heart completely, and he asked her then and 

there, 
If his home, his heart, his fortune, she would only come and 
share. 

Then they walked along together, 
Never minding cloudy weather. 
She said "Yes," and they were married; six red-haired chil- 
dren came to bless, 
And the stranger now is kicking — that is, kicking more or 
less — 

Because a white horse did appear. 

[EXIT behind wall. 
Evan. Ladies and gentlemen, — I cannot express to you how 
grateful I am for your kind attention and presence here to-night, 
and ot your appreciation of our humble efforts to please. It is 
with deep regret that we must say "Good-night," for it is 
almost ten o'clock ; and it is a rigid rule among us that we all 
get our " beauty sleep." You have probably wondered how we 
manage, travelling around as we do, to keep ourselves as beau- 
tiful as we are. That is the secret with us ; it is 

Early to bed and early to rise, 

That makes us all healthy, handsome and wise. 

The whole company will now appear in one grand closing 
chorus. {Calls.) Are you all ready ? 
All. Ready I 
Evan. Appear. 

[All appear, some in front of wall, others behind it. 
All join in singing the old college song, " Good- 
night, Ladies," 
2 



l8 ''OVER THE GARDEN WALLr 

Song : " Good-ttight, Ladies" 

Good-night, ladies, good-night, ladies. 
Good-night, ladies, we're going to leave you now. 
Chorus. Merrily we row along, row along, row along, 
Merrily we row along — 

O'er the deep blue sea. 

CURTAIN. 



OVER THE GARDEN WALL. 



19 



OVER THE GARDEN WALL. 



Vivace 






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O- ver the gar-den wall. Perhaps when you see how happy are we, You 




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OVER THE GARDEN WALL. 



will be glad that Ave gave you a call ; While the soft evening breeze, 

We'll try hard to please Blows 



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o-ver the garden w^all. O-ver the garden wall, The jolliest folks of 




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all. There never was yet So jolly a set, And you can bet You'll never for- 



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get The night that we together met O-ver the garden wall. . . 






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OVER THE GARDEN WALL. 
AS YOUNG AS I USED TO BE. 



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Kind friends.come listen to my songj'm old and I won't detain you long; I'm 



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eight-y-four, and quite a dude, And young folks call me Uncle Rube. My 






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hair,once black, has turn'd all gray,But what's the odds while I feel gay? How 



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I could sing a song of glee If I was as young" as I used to be. 



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NEW PLAYS. 



THE MOST SUCCESSFUL FAR E-COMEDY ON THE ROAD. 

SHE WOULD BE A WIDOW; or, BU I THRNU I 'S BRIDH. (25 cents). An 
original farce-comedy with a plot ^ in three acts, by Lrvin C. Tees. For laugh- 
ing purposes only. II male, 6 female characters (can be played by 7 gentlemen 
and 4 ladies). Time of performance, 2>^ hours. 3 interior scenes. The leading 
male characters (an old plumber and a good-for-nothing doctor) offer uncom- 
mon opportunities for 2 comedians; the remaining male p-rts will yield barrels 
of fun ^undertaker, burailar, speculator, member of the Legislature, etc.) The 
ladies' characters (vivacious society girl, sprightly young widow, comic old 
woman, rollicking soubrette, irate Irishwoman and frothy French dame; are all 
first-rate, but none of them difficult. Played under the name of "At Gay Coney 
Island " the piece has achieved a phenomenal success. It is a laugh-producer 
all around. 

^§^/« virtue of an arrangement •:> itk Messrs. Matthews & Bulger, tvko 
are now p aying *^At Gay Coney Iscand,^'' this piece cannot be produced pro- 
/essiona ly until the end of the season of i8g-/-g8. AmatevrSj Aoweve' , may 
produce it at any time, and without permission. 
A NOVEL rV BY THE AUTHOR OF " I HE SWEET FAMILY:' 

OVER THE GARDEN WALL. (15 cents.) A musical burlesque, by W. D. 
Felter. 6 male and 5 female principal characters (" artists "), with a chorus 
of 6 persons (3 ladies, 3 gentlemen) and 2 pages (little boys.) Requires no 
scenery — a paper-muslin " wall," decorated with a few evergreens, forming the 
entire stage setting. The programme consists of a number of specialties (includ- 
ing the author's well-known monologue, " Man Wanted," and the experiences 
of Cynthia Sniggins from Wiggletown) with various choruses and burlesque 
living pictures. Almost any number of young people can take part in the show, 
which is warranted to alleviate the most obstinate case of dyspepsia in 60 to 90 
minutes. 

'■'•IVe produced it here {Et'mira, N. Y.) for the Y. M. C. A, very success- 
fully. IVe turned people away the first night., and had a full house the 
second:'' 

A MI.VSIREL SHOW FOR DU iKY DAMES. 

THE BELLES OF BLACKVILLE. (iscenis.) By Nettie H. Pelham. A com- 
plete minstrel entertainment for female impersonators, that includes all the essen- 
tial features of a burnt cork programme — bright and new jokes, droll conundrums, 
popular songs, graceful dances and novel specialties, with a comical afterpiece 
for a whole company entitled Patchwork, which will afford a clever medium 
for " specialty " stars. The book is not a string of suggestions, but an entire 
entertainment for 30 for fewer) young ladies, that will run about two hours. 
The manuscript has been used with pronounced success in various parts of the 
country. 

AN OLD FAVORITE REVIVED. 

THE SHAKESPEARE WATER CURE. (15 cents.) A burlesque comedy in 
three acts, by "The Larks." 5 male, 4 female characters. Time in represen- 
tation, about 2 hours. This thoroughly original piece will succeed beyond 
expectation, with fairly clever people in the cast. Each character is a "star," 
and each can make any number of "points." Staying at a water-cure establish- 
ment are: Hamlet, for his health, and his wife Ophelia; Macbeth and Lady 
Macbeth, for economical reasons, in need of the needful; Mrs. Bassanio, enjoy- 
ing a legal vacation ; the Montagues, having been disowned by both their 
houses, Mr. K. M. has taken to the stage and is here with his traveling com- 
pany and his wife Juliet ; Shylock (from Chatham street) covets Portia's gold 
and bribes Lady Macbeth to incite her husband to the murder of Bassanio (tem- 
porarily on B ackwell's Island), so that the Jew can marry the fair heiress. All 
of which is accomplished, and a wedding dinner, under the superintendence of 
Othello (a darkey waiter), is given by the other patients to the happy bride and 
bridegroom. 

This is a nezv edition. Partly rewritten, of a faziorite comedy that has beetp 
out of print for sofne years. 

THE LA TEST NEGRO FARCE. 

DOCTOR SNOWBALL. (15 cents.) A negro farce in one act, by James Barnes. 
3 male characters. Scene, a plain room with a table and two chairs. Crisp and 
snappy and admits of specialties. The Doctor has a great head for humbug, 
Zeke a great head for gymnastics, and Pompey a great head for business. Will 

HAROLD ROORBACH, Publisher, 
132 Nassau Street, NEW YORK. 



make the audience laugh themselves sore. Runs 20 minutes, if played straight, 
without specialties. 

A SEQUEL 10 ''THE DEACONS 

THE DEACON'S TRIBULATIONS. (15 cents.) A comedy-drama in four acts, 
by Horace C. Dale. 8 male, 4 female characters. Time of playing, 2 hours. 
This is a worthy successor to the ever-popular " Deacon," in which the old 
favorites reappear amid new surroundings, all of them a little older, some of 
them very much married. The "business" is just as forcible, the situations 
just as laughable and the act-endings just as uproarious as they are in the older 
play. Pete is up to all his old, and some new, tricks ; Dais^ is made happy for- 
ever, and The Deacon is finally and completely cured of his fondness for lem- 
onade with a stick in it. The author confidently recommends this piece to all 
societies that wish to repeat their old successes with " The Deacon." 
NEW PIECES FOR YOU.\ G FOLK. 

A FESTIVAL OF FLOWERS, us cents.) By Clarence F. Shuster. A musi- 
cal entertainment for children — 13 boys and 13 girls. The cast can be curtailed, 
if desired, by omitting some of the Flowers. Each character, representing a 
flower, has certain lines of recitative with appropriate " business." There are 
several pretty songs and simple dances (a minuet can be introduced), and the 
spectacle concludes with " The Flower Festival March " and a tableau repre- 
senting an enormous bouquet. Time of representation, about half an hour. Col- 
ored tissue papers make the costumes, and there are no troublesome " proper- 
ties." The piece is an ingenious rhythm of melody, movement and color, that 
will command the favor of young people of all ages. 

THE CAPTIVE PRINCESS. _ (15 ci^nts.) A play suitable for school entertain- 
ments and adapted to children of 12 years or under, by A. M. Mitchell. 
9 characters, viz. : i girl, i boy and 7 others (either boys or girls), personifying 
various Studies. The Princess is captured by tyrants, who bear her away to 
their castle, where they keep her at hard and difficult tasks. Just as she reaches 
the verge of despair Prince Promotion appears and rescues her from her thral- 
dom. The piece requires no scenery nor any properties that cannot be made of 
cardboard easily. Contains several simple songs asd some very smart dialogue, 
and is singularly free from all goody-goody flavor. Plays about half an hour. 

THE LOST NEW YEAR. (15 cents.) A play in verse, by E. M. Crane, for 
young actors of 5 to 12 years. 8 principal characters, and choruses of Seasons, 
Fairies, Butterflies and Flowers. The piece was written for and first produced 
by about 30 children, boys and girls, of various- ages. The cast can be made 
greater or smaller by increasing or curtailing the choruses. No trouble about 
costumes or properties. Time of representation, about ^5 minutes. Master 
New Year, while speeding earthward, loses his way and is persuaded by the 
Fairies to tarry and join their ring. As the time approaches for Old Year to 
depart, with still no sign of his successor, the Seasons, the Flowers and the 
Butterflies are thrown into deep consternation, but when the alarm has reached 
its height, and New Year seems irretrievably lost, the Fairies bring him to take 
his place and receive his wtlcorac just ia ti:ne for Old Year to disappear. The 
piece is as bright as a dollar throughout. 

THREE SrANDARD SUCCESSES. 

ALL THE COMFORTS OF HOME. (25 cents.) A comedy in four acts, by 
William Gillette, as first produced at the Boston Museum, March 3, 1890. 
Authorized Copyright Edition, printed from the original prompt-copy. 10 
male, 7 female characters (by doubling, it is usually played by 6 gentlemen and 
4 ladies). Costumes of the day. One parlor scene throughout. Time of 
playing, 2 hours and 35 minutes. Acting rights reserved. 

A NIGHT OFF. (25 cents.) A comedy in four acts, from the German of Schoen- 
than, by Augustin Daly, as first produced at Daly's Theatre, N. Y., March 4, 
1885. Authorized Copyright Edition, printed from the original prompt-copy. 
6 male, 5 female characters. Modern costumes, 2 interior (parlor) scenes. 
Time of playing, 2/4 hours. Acting rights reserved. 

SEVEN-TWENTY-EIIHT. (25 cents.) A comedy in four acts, from the Ger- 
man of Schoenthan, by Augustin Daly, as first produced at Daly's Theatre, 
N. Y., February 24, 1883. Authorized Copyright Edition, printed from the 
original prompt-copy. 7 male, 4 female characters. 2 interior (parlor) scenes. 
Time of playing, 23^ hours. Acting rights reserved. 

••All the Comforts of Home," "A Night OfE " and "Seven-Twenty-Eight" are 
subject to a fie for production by amateurs. (Particulars to be found in the 
piinted books.) J he publisher fs not concerned in the collection o/fees. 

HAROLD ROORBACH, Publisher, 
132 Nassau Street, ------ NEW YORK. 



►'%^%''%/%^'%''%'^-%'^'^^^'%''%^%''%^%'%^%'' 



t 



Dramas and Comedies 



both serious and coxiic in scope ; not sensational 5 



W (AT 25 CLNTS EACH.) M. 

^ Breaking Hia Bonds. Strong Drama with comic underplay; 4 acts; 

^ 2 hours ^ ; 6 

W The Jail Bird. Diama of city life, containing a vivid plot with well 

^ diversilied interest ; 5 act3 ; 2'A hours 63^ 

5 Golden Gulch ("The Government Scout"). Drama that combines ^ 

^ fun, sentimcut and exciting situations ; 3 acts ; 2% hours ii 5 " 

A The Man from CAaifte. Comedy-drama with a wide-awake hero from A 

T " down Ea t '' ; s acts; 2% hours 9 3 ^ 

^ Shaun Aroon. Sirring Drama of Home Life in Ireland' 3 acts; 2 T 

J^ hours 7 3^ 

^ "The Deacon." Comedy-drama that is siinply i:i;mcnse ; old-nan \ 

leadinjj character; s acts; 2>2 hours 6 6^ 

Whafs Next? Farce-comedy; 3 acts ; plays 150 minutes; raises 150 A 

V laughs • 7 4 ^ 

^ The New Partner. Comedy-drama ; strong plot^movirig episodes and ^ 

^ roaring comedy ; 3 acts; 2% hours 84^ 

^ JcS I >'s C:)Lr's!^ip. Farcical Comedy-Drama; uproarious comedy ^ 

^ features alternate with forceful, but not heavy, pathos ; 4 acts ; ^ 

^ 2 hourb "^ ^ S 

^ Erin Go Bragh. An up-to-date Irish Drama in 3 acts ; plays 2 hours; ^ 



^ Piays for Female Characters Only ^ 

A (15 CENTS EACH.) M. F, A 

\ Who's to Inherit ? i act; brisk and comic 9 v 

^ IVIrS. Willis' Will, i net ; neat, funny and bright 5 W 

A My unt's Heiress, i act ; has a " Cinderella " plot 11 A 

^ The "Sweet" Family. Musical, wise and otherwise; vill make a \ 

^ mummy laugh 8 ^ 

A A Lesson in Elegance ("The Glass of Fashion"). Society comedy ; A 

\' I act 4 \ 

^ Murder Will Out. i act ; humorous, with a moral 6 ^ 

^ A Slioht Mistake, i act ; enforces a moral in a comic way 5 A 

T Fast Friends, i act ; society quarrel and reconciliation 2 T 

^ A Fair Encot'nter. i act ; bright, v/ith a diaraond-cut-diamond plot.. 2 ^ 

^ Plays for Male Characters Only # 

^ _ (15 CENTS EACH.) M. F. # 

A The Lost Heir. Drama in 3 act? ; excellent plot of unflarging interest. 10 A 

T "Medica." Roaring farce ia i act ; sr.ie to please ^ 7 ^ 

^ Wanted, A Confidential Clerk. Farco in r act ; comic and spirited... 6 ^ 

ift Old Cronies. Farce in i a :c ; rollicking fun all througli 2 

^ April Fools. Farce ii i a jt ; Irisk, bright an I comic 3 

^ The Darkey Wood Dealer. Farcjiniact; always scores a success.. . 3 

A WischievOUS Bob. Comic dra n a in i act ; good moral 6 

^ The Wrong Botth. Temperca-c; sketch in i act 2 

^ Well Fixed for a Rainy Day. Tenpcranc:; Drama in i ret 5 

^ The Harvest Storm. Drama in i act; strong in its interest, v/ith a 

^ comic underplot id 

^ Furnished Apartments. Farcj in i act ; very laughable in its absurd 

Jk complications 5 

^ The Widow's Proposals. A " Widow Bcdott" farci in i act 3 - 

^ A Manager's Trials. Farce in i act ; creates shouts of laughter 9 S 

^ The Bachelor's Bedroom (" Two in the Morning '). Farce in i act . . 2 ^ 

^ Th3 Dutchman in Ireland. Farce in i act ; goo i characters 3 T 

^ Tho N gg-^r Niglit Sc icol. Farce in i act; a "screamer" with 

^ specialties • 6 

W A Holy T^rrrr. Farc2 in i act ; white or black £ace3 ; specialties can 

A be worked in ; uproariously funny 4 ^ 

\ HAROLD ROORBACH, Publisher, 13a Nassau St., N. Y. ^ 



i 



Various Entertainments 

(25 CENTS EACH.) 



drill and some good tableaux. Entertains both old and youn^ 

HAROLD ROORBACH, Publisher, 132 Nassau St., N. Y. 



* 

4^^'%'^^%'%^ 



P .^ 5 

J Exhibition Drills and Marches t 

f (15 CENTS EACH.) ? 

5 The Bootblack Drill. A comic novelty drill for several boys or girls repre- ^ 

▼ senting bootblacks. It is a living picture from real life, done in motion. ^ 

(t The Clown's Horn Drill. A fantastic drill and march for boys or young 

\ men. The performers represent clowns who go through a comical man- 

W ua), with tin horns. Contains, also, a dumb-bell exercise which may be 

^ retained or omitted. 

\ A Dutch Flirtation. A handkerchief drill for small girls, which carries out ^ 

W a clever little comedy in movement. Simple, and short enough for little ^ 

dk fo.ks to execute without fatigue, and is at once graceful and comical. _ ^ 

^ Ihe Indian Huntresses. A bow and arrow drill for girls of any age. Pict- ^ 

W uresque, witn graceful figures and tableau effects. W 

A John Brown's Ten Little Injuns. A tomahawk march and drill for small -^ 

^ boys or young men. The march, manual and chorus are all done to the 

W old tune of the same name. Comic. 

A The March of the Chinese Lanterns. A spectacular novelty drill and ir.arch 

\ for girls or young ladies. The drill and calisthenics are novel, and the 

^ march forms vaiious graceful figures and pretty tableaux. 

A Maud Muller Drill. A pretty pantomime drill for young ladies and gentle- A 

\ men. Appropriate passages selected from Tennyson's poem are recited \ 

V by a reader, whib the story is acted out in marches, motions and poses. ^ 

A Red Riding Hood Drill. A novelty story in drill and song, for little folks. 

^ The story is represented in pantomime, with various figures, poses, mo- 

^ tions and short songs. 

A Spring Garlands. A flower drill for young people of both sexes, represent- 

^ ing maids and gallants of ye olden tyme.^ Graceful calisthenic poses, 

evolutions with garlands and pretty marching figures, make ;. very pict- 

$ uresque and old-time effect. A 
The Turk-ey Drill. A nonsense comedy song-drill for boys or young men; a ^ 
suggestion of Thanksgiving Day. _ _ Y 

^ The Vestal Virgins. A spectacular taper-drill for girls_ or young ladies — a A 

^ Sybil and any number of virgins. Works out a cla.ssic theme with pretty ^ 

^ effect. Interwoven are pose-studies, marching figures and a gallery of 

^ the Muses. 

^ The Witches' March and Broom Drill. A fantastic drill for girls or young 

S ladies, presenting a succession of contrasts in movement and pose. It is 
quite novel and striking. 



, 1 

The Japanese Wedding. A pantomime representation of the wedding cere- \ 

mony as it is done in Japan. Requires 13 performers and lasts about 50 W 

minutes. Is exceedingly effective ^ 



i 



^ An Old Plantelion Night. _ A musical and elocutionary medley for a double 

quartet. Is not a " minstrel " show, but represents the life of the old- 

A time darkies, interspersed with song and story. A 

^ The Gypsits' Festival. A musical entertainment for children, introducing ^ 

the Gypsy Queen, Fortune-teller, Yankee Peddler, and a chorus of Gyp- W 

A sies of any desired number. A 

^ The Court cf King Christmas. A Cantata for young folks, representing the ^ 

Christmas preparations in Santa Claus land. Young people, from six to ^ 

A sixty, are always delighted with it. A 

T King Winter's Carnival. An operetta for children, with 10 speaking parts J 

and chorus. The action takes place in King Winter's apartments at the ^ 

A North Pole. Ends in a minuet. A 

^ The Fairies' Tribunal. A juvenile operetta for 9 principal characters and a 

^ chorus. Interspersed are pretty motion-songs, dances and marches, a 




TOWNSEND'S 

" AHATEUR THEAT 

A Practic(il Guide /or Amateur Actors, 

PRICE, 25 CENTS. 

This work, without a rival in the field of dramatic literature, covers the en- 
tire subject of amateur acting, and answers the thousand and one questions that ' 
arise constantly to worry and perplex both actor and manager. It tells how to ' 
select plays and what plays to select; how to get up a dramatic club— whom to ' 
fhoOse and whom to avoid; how to select characters, showing who should assume i 
particular roZfs ; how to rehearse a play properly— including stage business, by- 
play, voice, gestures, action, etc. ; how to represent all the passions and emo- 
tions, from Love to Hate (this chapter Is worth many times the price of the book, \ 
as the same information cannot be found in any similar work); how to costume 
modern plays. All is told in such a plain, sinii>le style that the veriest tyro can 
understand. The details are so complete and the descriptions so clear tliat the' 
most inexperienced can follow them readily. The book is full of breezy anecdotes i 
that Illustrate different points. But its crowning merit is that it is thoroughly 
PRACTICAL— it is the result of the author's long experience as an actor and man- 
ager. Every dramatic club in the land should possess a copy of this book, and no 
actor can afford to be without it. It contains so much valuable information that , 
even old stagers will consult It with advantage. 

HELMER'S 
ACTOR'S MAKE=UP BOOK. 

A Practical and Systematic Guide to the Art of Making-up for the Stage.^ 

PRICE, 25 CENTS. 

Facial make-up has much to do with an actor's success. This manual Is aperf ect 
encyclopedia of a branch of knowledge most essential to all players. It is well 
written, systematic, exhaustive, practical, unique. Professional and amateur 
actors and actresses alike pronounce it the best make-up book ever published. 
It is simply indispensable to those who cannot command the services of a per- 
ruquler. 

CONTENTS. 

Chapter I. Theatrical Wigs.— The Style and Form of Theatrical Wigs and 
Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for i 
Measuring tlie Head. To put on a Wig properly. 9 

Chapter II. Theatrical Beards.— How to fashion a Beard out of Crepe Hair, m 
How to make Beards of Wool. The growth of Beard simulated. Z 

Chapter III. The Makk-uf.— A successful Character Mask, and how to make S 



! 



it. Perspiration during performance, how removed. 

Chapter IV. The Make-up Box.— Grease Paiixt . Grease Paints in Sticks ; Flesh 
Cream; Face Powder; How to use Face Powder as a Liquid Cream; The various 
shades of Pace Powder. Water Cosmetique. Nose Putty. Court Plaster. Cocoa 
Butter. Crepe Hair and Prepared Wool. Grenadine. Dorin's Rouge. "Old 
Man's" Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. 
Kyebrow Pencils. Artist's Stomps. Powder Puffs. Hare's Feet. Camel's-hair 
Brushes. 

Chapter v. The Features and their Treatment.— The Eyes ; Blindness. The 
Eyelids. The Eyebrows : How to paint out an eyebrow or mustache; How to 
j)aste on eyebrows; How to regulate bushy eyebrows. The Eyelashes : To alter 
the appearance of the eyes. The Ears. The Nose: A Roman nose; How to use 
the nose putty; apugnose; an African nose; a large nose apparently reduced in 
size. The Mouth and Lips : a juvenile mouth; an old mouth; a sensuous mouth; 
2 a satirical mouth; a one sided mouth; a merry mouth; a sullen mouth. The 
5 Teeth. The Neck, Arms, Hands and Finger-nails: Finger-nails lengthened. 
Wrinkles: Friendliness and SuUenness indicated by wrinkles. Shading. A 
Starving Chnracter. A Cut in the Face. A Thin Face made Fleshy. 

Chapter VI. Typical Character Masks.— The Mnke-up for Youth; Dimpled 
Cheeks. Manhood. Middle Age. Making up as a Drunkard : One method; an- 
other method. Old Age. Negroes. Moors. Chinese. King Lear. Shylock. Mac- 
beth. Richelieu, Statuarv. Clowns. 

Chapter VIL Special Hints to Ladies.— The Make-upo Theatrical Wigs and 
Hair GoodSo 

^P" Copies of the above will be mailed^ post-paid^ to any address^ on \ 
receipt of the annexed prices. 

HAROLD ROORBACH, Publisher, 132 Nassau St., N. Y. 



I! 



